GELATIN ART SERIES

Courtesy: © Christopher Wool and Xavier Hufkens photograph: Tim Nighswander/IMAGING4ART The juxtaposition with the outside work, however, complicates our understanding of scale: the photographed pieces could be as monumental as the cast work beyond or as small as the actual wire sculptures presented on plywood and MDF plinths on the first floor (all Untitled, 2014).Ĭhristopher Wool, Untitled, 2019, silkscreen ink on linen, 3 × 2.4 m. The work bears a clear relationship to the photographs of the artist’s sculptures made from barbwire found at ranches: both are reminiscent of the tumbleweeds that drift through the arid desert landscape ( Bad Rabbit, 2022). At the back of the gallery, for example, a large window looks out onto a 3.4-metre-high bronze wire sculpture ( Untitled, 2021) installed in the garden. In the following rooms, the interconnections between the distinct bodies of work are made more apparent.

GELATIN ART SERIES

In the first room hangs a large silkscreen painting ( Untitled, 2019), accompanied by two large sculptures in copper-plated steel (both Untitled, 2022) and a series of 18 gelatin silver prints ( Road, 2018), depicting the desolate dust and gravel roads of the Marfa desert where Wool began living part-time 15 years ago. In a change from Wool’s celebrated stencilled text paintings and renowned interest in the painterly process, the show features media comparatively new to his practice, such as photography, bookmaking and sculpture. Courtesy: © Christopher Wool and Xavier Hufkens photograph: Farzad Owrang The exhibition – containing several interrelated bodies of work, mostly made during the past five years – is Wool’s first, large-scale solo presentation since his 2014 retrospective at the Art Institute of Chicago.Ĭhristopher Wool, Untitled, 2022, copper-plated bronze, 153 × 143 × 70 cm. For the relaunch, Hufkens called upon curator Anne Pontégnie to consolidate her 20-year collaboration with US artist Christopher Wool.

Thirty years after repurposing a 19th-century maison de maître into a gallery space for Xavier Hufkens, Robbrecht and Daem Architects were invited to revise and expand their original design, nearly tripling the St-Georges venue in size and providing each of the four floors with distinct proportions and lighting.

Gelatin art